F^RIOE IS OENTS 




Successful Rural Plays 

A Strong List From Which to Select Your 
Next Play 

FARM FOLKS. A Rural Play in Four Acts, by Arthur 
Lewis Tubes. For five male and six female characters. Time 
cf playing, two hours and a half. One simple exterior, two 
easy interior scenes. Costumes, modern. Flora Goodwin, a 
farmer's daughter, is engaged to Philip Burleigh, a young New 
Yorker. Philip's mother wants him to marry a society woman, 
and by falsehoods makes Flora believe Philip does not love her. 
Dave Weston, who wants Flora himself, helps the deception by 
intercepting a letter from Philip to Flora. She agrees to marry 
Dave, but on the eve of their marriage Dave confesses, Philip 
learns the truth, and he and Flora are reunited. It is a simple 
plot, but full of speeches and situations that sway an audience 
alternately to tears and to laughter. Price, 25 cents. 

HOME TIES. A Rural Play in Four Acts, by Arthur 
Lewis Tubes. Characters, four male, five female. Plays two 
hours and a half. Scene, a simple interior — same for all four 
acts. Costumes, modern. One of the strongest plays Mr. Tubbs 
has written. Martin Winn's wife left him when his daughter 
Ruth was a baby. Harold Vincent, the nephew and adopted son 
of the man who has wronged Martin, makes love to Ruth Winn. 
She is also loved by Len Everett, a prosperous young farmer. 
When Martin discovers who Harold is, he orders him to leave 
Ruth. Harold, who does not love sincerely, yields. Ruth dis- 
covers she loves Len, but thinks she has lost him also. Then 
he comes back, and Ruth finds her happiness. Price 25 cents. 

THE OLD NEW HAMPSHIRE HOME. A New 

England Drama in Three Acts, by Frank Dumont. For seven 
males and four females. Time, two hours and a half. Costumes, 
modern. A play with a strong heart interest and pathos, yet rich 
in humor. Easy to act and very effective. A rural drama of 
the "Old Homstead" and "Way Down East" type. Two ex- 
terior scenes, one interior, all easy to set. Full of strong sit- 
uations and delightfully humorous passages. The kind of a play 
everj4)ody understands and likes. Price, 25 cents. 

THE OLD DAIRY HOMESTEAD. A Rural Comedy 
in Three Acts, by Frank Dumont. For five males and four 
females. Time, two hours. Rural costumes. Scenes rural ex- 
terior and interior. An adventurer obtains a large sum of money 
from a farm house through the intimidation of the farmer's 
niece, whose husband he claims to be. Her escapes from the 
wiles of the villain and his female accomplice are both starting 
and novel. Price, 15 cents. 

A WHITE MOUNTAIN BOY. A Strong Melodrama in 
Five Acts, by Charles Townsend. For seven males and four 
females, and three supers. Time, two hours and twenty minutes. 
One exterior, three interiors. Costumes easy. The hero, a 
country lad, twice saves the life of a banker's daughter, which 
results in their betrothal.^ A scoundrelly clerk has the banker 
in his power, but the White Mountain boy finds a way to check- 
mate his schemes, saves the banker, and wins the girl. Price 
15 cents. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



Father Changes His 
Mind 

^ Farce in One Act 



By 
J. WILLARD LINCOLN 

Author of ^^Putti?ig it Over on Father ^^ 
** Rather Rough on Robert^'' etc. 




PHILADELPHIA 
THE PENN PUBLISHING COMPANY 

1918 



PS 35^3 



Copyright 1918 by The Penn Pubushing Company 



APR f7 iSi'8 



Father Changes His Mind 



■S)CI.D 49363 



.^tr^(- 



Father Changes His Mind 



CHARACTERS 



Peleg Smith - a rich^ crotchety old farmer who is 

a widower 
Polly Smith - - his daughter ; twenty, pretty and 

in love with Jim Redlands 
Jim Redlands - -a young artist who wishes to 

marry Polly 
Phil Brice - - a yoicng newspaper man and chum 

of Jim 
Betty Moore - - - an actress andfrietid of Phil 
Maria Hopkins » » - a very determined widow 
Helene Dupont ' - - ' - an adventuress 
Hiram Talker - « - who drives the village hack 
Joe Harris « . » . . Smith's hired man 

Time.— Thirty minutes. 



STORY OF THE PLAY 

Peleg Smith won't let his daughter Polly marry Jim 
Redlands, an artist. Jim sends a note to Polly: 
" Sweetheart, don't be surprised at anything that hap- 
pens. Pm going to provide your father with a house- 
keeper and myself with a wife." In response to Jim's 
advertisement, Betty Moore claims the helpless Peleg. 
" But I don't want a wife. I didn't advertise. The 
idea of me marrying ! " Hiram, the village hack 
, driver, brings another. " If I was you, Peleg, I'd take 
the first one ! " Hiram gives Peleg a wedding present. 
Helene Dupont arrives prepared with a license. '' Mr. 
Smith is the man with the lady in his arms." Peleg 
refuses them, all : " Clear out, all of you ! '* " Either 
you marry me or else you pay me ten thousand dol- 
lars." Peleg refuses to do either and his prospective 
brides agree to stay until they get satisfaction. Jim 
to the rescue. *' If you'll get rid of these women I'll 
give you anything you want." So Jim gets rid of the 
suitors and wins Father's blessing. 



COSTUMES 

Peleg Smith. Old-fashioned cowhide boots ; over- 
alls tucked into boot tops ; a blue cotton shirt, open at 
throat ; a gray waistcoat unbuttoned ; a much worn felt 
hat. Peleg has a goatee which can be made by un- 
raveling the hemp from a piece of rope, dipping the 
tow in ink, attaching the other end by glue to a strip 
of adhesive tape which is affixed to the face and can 
easily be removed by wetting with a little alcohol. 

Polly Smith. A bright colored gingham dress, 
with a blue shoulder apron. 

Jim Redlands. Corduroy trousers or knicker- 
bockers; negligee shirt, string tie; a light coat; straw 
hat ; a paint box ; canvas and light portable easel. 

Phil Brice. A business suit ; straw hat. 

Betty Moore. Gown and hat in latest style; 
vanity bag ; large traveling bag ; parasol. 

Maria Hopkins. Plain black dress; black or 
colored shawl; little black bonnet tied under her chin; 
hair about face in curls; an old-fashioned carpet bag 
for which a canvas extension bag may be substituted. 

Helene Dupont. Dressed in loud clothes; big 
hat ; vanity bag ; parasol ; feather boa ; big trunk. 

Hiram Talker. Khaki trousers ; flannel shirt ; old, 
faded coat; battered straw hat. 

Joe Harris. " Sneakers " ; old trousers ; flannel 
shirt; felt hat. 



PROPERTIES 



Wood-box with wood in it. Dish-pan and dishes. 
Dish towels. Several lithographs or cheap pictures. 
Paint box, canvas on frame — any painting will do with 
frame removed ; easel. Parasol and traveling bag for 
Betty. Carpet or canvas extension bag. Parasol and 
big trunk for Helene. Letter for Joe to give to Polly. 
Two newspapers for Maria and Helene. Paper, sup- 
posed to be a marriage license, for Helene. 



SCENE PLOT 



tXT^H/OR BAC/<//VCi 



{ \- 




ScENE. — The kitchen of the Smith farmhouse. 
Door in back c, opening onto porch; doors r. and l. 
Wood-box up L. Table, with water pail, at R. Dish 
closet up R. Table c. Two chairs, one r. and one l. 
of table. A chair against rear wall near door. An- 
other chair down L. Window l. near rear door. 
Rugs on floor. Four bright lithographs, or cheap 
pictures, on walls. 



Digitized by the Internet Archive 
in 2011 with funding from 
The Library of Congress 



http://www.archive.org/details/fatherchangeshisOOIinc 



Father Changes His Mind 



SCENE.— Kitchen of Smith farmhouse. 

{Discovered:— PoiAJY Smith at table up R. washing 
dishes and singing to herself. Door up c. opens and 
Jim Redlands enters, paint box, canvas and easel 
under arm.) 

Jim {as Polly turns), Where's the ogre? 

Polly. You mustn't call Dad that. He may be 
crotchety, but he's no ogre. 

Jim. All right — but where is he? 

Polly. Gone down to the ten acre lot. 

Jim {placing paint box, canvas and easel on chair 
near door at rear). Good. Then it will be safe for 
me to stay a while. 

Polly. What do you mean by safe ? 

Jim. Oh, your father and I had a little conversa- 
tion yesterday. But don't worry. I've written to my 
chum, Phil Brice the actor, at the Junction, and we've 
fixed up a little scheme that will bring your father 
around. 

Polly. Oh, tell me about It. 

Jim. First, I want a kiss. {Starts toward Polly.) 

Polly {going toward Jim). Just one. {Sees 
figure passing window up l. and draws back to table.) 
Oh, dear ! Here's Dad coming now. 

Jim {up R.). He might have waited until I had my 
kiss. 

(Jim saunters dozvn r. just as Peleg Smith enters 

lip c.) 

7 - 



8 FATHER CHANGES HIS MIND 

Peleg {up c, to Jim). You here again? {Comes 
down c. ) Thought I told you I didn't want you hang- 
ing round my gal. 

Jim {down r. c.). But, Mr. Smith, I want to marry 
Polly. I love 

Peleg (c). My gal marry a penniless artist? 
Not much. Joe, my hired man, could provide a better 
home for her than an unknown picture feller. 

jiM. I'm not unknown, Mr. Smith. A couple of 
my pictures have been hung in the spring exhibition. 
{Crosses l. to chair at door, takes canvas and comes 
to Peleg.) I've an order for this landscape. It'll 
bring me a hundred dollars. 

Peleg {taking picture, holds it upside down), A 
hundred dollars for that! Why, there ain't no head 
or tail to it. 

(Polly comes down r.) 

Jim (e.g., turning picture). If you hold it right 
side up perhaps you can see it better. 

Peleg (c.). It's all the same to me, upside down 
or not. Anybody who would pay a hundred dollars 
for that thing is crazy. Now if it were one of them 
{pointing to bright lithographs) I could see why. 

Polly (r.). Oh, Dad! 

Peleg. Go back to your dishes, miss. {To Jim.) 
And you go about your business — and mind you don't 
come back here again or there'll be more to it. 

Jim (l. c.). See here, Mr. Smith, this isn't fair. 
I'm honest. You can look up my references. {Smil- 
ing.) And I have an income sufficient to support 
Polly if I don't sell another picture. 

Peleg (c.). I don't 

Polly {going c. to her father and putting her arms 
about his neck). Oh, Daddy, dear. I love Jim. 
Why can't we be married ? 

Peleg. Who'd keep house for me if you were 
married ? 

Jim. Is that all that keeps you from letting me 
marry Polly ? 



FATHER CHANGES HIS MIND Q 

Peleg. No, it ain't all — but it's enough. Now 
go — and ril go with you to see that you do go. 

(Jim picks up paint box, canvas and easel and exit up 
c, followed by Peleg. Polly, crying, exit door l.) 

{Enter Joe Harris, r.) 

Joe {catching sight of Peleg through window), 
Peleg! Oh, Peleg! {Goes up c to door,) I gotta 
go to the Junction, Back to-morrow. 

{Exit, R.) 

{Enter Peleg, up c.) 

Peleg. But you can't go, Joe. We got all that 

hay to {Stops and looks ahovit in surprise at not 

seeing Joe, then runs to door, l,, and opens it, calling.) 

Joe ! You good-for-nothing- Oh, it's you, Polly. 

Quit that crying and come out here and wash the 
dishes. 

Polly {from, without), I won't, so there! Even 
if you are my daddy, you're mean to me. You said I 
could have anything I wanted if I'd keep house for 
you and not go to college — and now you won't let me 
have Jim. 

Peleg (l.). But a husband ain't a thing a girl with 
money wants. Only poor girls need 'em. Are you 
coming here to wash those dishes? 

Polly {from withovtt). No ! I'm going to college. 

Peleg (l.). College? Good land! Polly going 
to college, Joe going to the Junction ! {Shakes fists in 
air.) Well, not while Peleg Smith is able to move 
round, they ain't. 

{Exit up c, closing door with a hang.) 

Polly {putting head through door l., looks about, 
enters, and goes up l. to wood-box). I've a good 
mind to elope with Jim. 

{Takes stick of wood from box.) 



10 FATHER CHANGES HIS MIND 

{Enter Joe, cautiously^ up c.) 

Joe. Is Peleg 'round? 

Polly (up l.). No. 

Joe (at door up c). Then here's a note Jim Red- 
lands gave me to give you. 

Polly (dropping wood and running up c. to Joe 
and taking note), Joe, you're a dear! (Exit Joe, up 
c. Tears open note and reads.) ''Sweetheart: 
Don't be surprised at anything that happens. Phil 
Brice and several of his company from the Junction 
are here. Vm going to provide your father with a 
housekeeper and myself with a wife. With all my 
love, Jim." (Sinks into chair by door up c.) Now 
what can Jim be up to ? 

(Enter Peleg, up c.) 

Peleg. Joe Harris, I don't know where you are, 
but you're fired. Fll get another hii*ed man. (Polly 
hurriedly stuffs note into bosom of her dress and cross- 
ing R. to table begins to rattle the dishes, Peleg, up 
C-) Stop banging those dishes, Polly. 

Polly (innocently). What's the matter, Dad? 

Peleg. Matter? Everything. That good-for-noth- 
ing Joe has gone to the Junction and left all the hay- 
ing — — (Peers out window up l. c.) Hello, who's 
Hiram bringing here? You got company coming? 

Polly (running up l. c. to window and looking 
out). No, Dad. 

Hiram Talker (opening door up c). Here's a 
lady to see you, Peleg. 

Peleg (l. c). A lady to see me? 

Hiram {grinning). So she says. 

(Exit, up c.) 
(Enter Betty Moore, up c.) 
Betty. Is Mr. Peleg Smith at home? 

(Polly goes l.) 
Peleg (l. c). I'm he. 



FATHER CHANGES HIS MIND II 

{Enter Hiram with Betty's bag.) 

Hiram {putting bag inside door). Here's your 
luggage, miss. {Stands in doorzvay.) 

Betty {rushing to Peleg and throwing arms aboiit 
him). Oh, you dear man. I just know I shall love 
you. 

Peleg (l. c., disengaging himself, angrily). But I 
don't want to be loved. 

Betty. Oh, yes you do, you naughty man. You 
wouldn't want a wife who didn't love you, would yovi? 

Peleg. Me want a wife? 

Hiram {at door, slapping thigh). Haw, haw, haw ! 
Didn't know you was calculatin' to get spliced, Peleg. 

Peleg. Nor I ain't. 

Betty (l. c). Oh, yes you are— or you wouldn't 
have advertised. 

Peleg, Advertised? What do you mean? 

Betty {producing paper, which she hands to Peleg, 
her finger on a paragraph). Why, that's what I 
mean, of course. I only hope Fm the first to answer. 

Peleg {taking paper and handing it to Polly). 
Read it, Polly — then perhaps we'll know what this 
gal's talking about. 

Polly (l., taking paper, reads). "Wanted — a 
wife. Must be a good cook, kind, pleasant and willing 
to live in the country. Have plenty of money but a 
bad temper. Apply in person at the farm of Peleg 
Smith, Moore's Corners/' 

{Drops newspaper in surprise.) 

Hiram {in doorway up c.). Haw, haw, haw! 

Peleg (l. c, to Hiram). Get out of here ! 

Betty. You've got the temper, all right. But I 
guess I can stand it— if you have the money, too. 

Peleg. You go with Hiram! 

Betty. Oh, no. You'll like me after you know me. 

Peleg. But I don't want a wife ! I didn't adver- 
tise. Some wretch put that in. The idea of me 
marrying ! 



12 FATHER CHANGES HIS MIND 

Betty (smiling and picking up her bag). Oh, 
you'll get used to the idea. I think it was an awfully 
cute way — so original — of finding a wife. (To 
Polly.) My dear, will you show^ me my room? 

(Polly goes up c. to her, Betty puts her arm 
through Polly's and whispers to her,) 

Polly. Yes, indeed. Come with me — er 

Betty. Miss Moore — Betty Moore. 

{Smiles at Peleg^ bohs her head, and exit r. with 

Polly. ) 

Pej^eg (l. c, snatching up paper and staring after 
her). Well, if this don't beat all. {Shakes paper.) 
I'd like to lay my hands on the feller who put that ad 
in the Clarion. {Goes c. and drops into chair at l. 
of table,) The idea of Polly falling in with her in- 
stead of ordering her out. Miss Betty, you may think 
you're going to be Mrs. Peleg Smith, but you ain't. 
I'll get used to the idea! Awfully cute way — so 
original — of finding a wife! {Bangs table with fist.) 
But I don't want a wife ! 

{Enter Hiram, up c, with bag.) 

Hiram. Here's another, Peleg. {Sets bag inside 
door.) If I was you, I'd take the first one. 

{Enter Maria Hopkins, up c.) 

Maria {glancing about, sniffs). Are you Peleg 
Smith ? 

Peleg {faintly). Yes. 

Maria {coming dozvn c. to R. of table). Then pay 
this robber {pointing to Hiram) a quarter. It's an 
outrage to charge that much for bringing me from the 
station. 

Peleg {protesting). But I didn't ask you to 
come — why should I pay? 

Maria {calmly). Because you're going to pay all 
my bills from now on. 



FATHER CHANGES HIS MIND I3 

HiRAM (at doorway). Haw, haw, haw! 

Maria (down r., turning on Hiram). If you think 
it's so funny, take your pay out in laughing. (To 
Peleg.) You can give me the quarter instead of him, 
Peleg, 

Hiram. Yes, go ahead and give it to her, Peleg. 
You can call it my wedding present to her. When's 
the ceremony coming off ? 

Maria. Just as soon as dear Peleg and I can draw 
up the marriage settlement and get to the minister's. 
(Looking about kitchen.) I can see there are a lot of 
things need changing, but Til make the best, of it. 
Now, Peleg, dear, how much money will you settle 
on your wife? 

Peleg. I don't want a wife. 

Maria (going around table to him with arms out- 
stretched). Yes you do, Peleg. Anyhow, you're go- 
ing to have one — and her name's Maria Hopkins. 
Kiss me, Peleg. 

Peleg (jumping from chair). V\\ die first. 

(Peleg dodges around the table, pursued by Ma.ria. 
Peleg finally darts for rear door but Maria catches 
him, ^ip c, throws her arms about his neck and puts 
head on his shoulder.) 

Hiram (in doorway, up c). Reckon you're caught 
and branded this time, Peleg. So long. Don't forget 
I gave you a wedding present. 

(Exit, up c.) 

Peleg (struggling). Let me go. 

Maria (seizing him by zvaistcoat and shaking him). 
See here, Peleg Smith, don't you talk to me like that. 
The paper was right in saying you have a temper. But 
I ain't scared. An}^ woman who could manage Bill 
Hopkins and send him to his grave can handle a Smith, 
I guess. Now you come over here and sit while we 
talk over the money you'll settle on me. (Leads 
Peleg to chair at r. of table, slams him into it, grabs 



H 



FATHER CHANGES HIS MIND 



chair from l., places it beside Peleg and sits dozvn.) 
How much do I get for marrying you ? 

Peleg. Not a cent ! I won't marry you. I won't 
marry any one. I don't want a wife. 

Maria. Villain! You have deceived me. My 
heart is broken. I shall faint! 

(Falls into Peleg's lap.) 

Peleg. Here, stop it. Get up. 

(Shakes Maria, who remains rigid.) 

(Enter Hiram, tip c) 

Hiram (grinning). 'Scuse me, Peleg, for inter- 
rupting like — but it ain't my fault. I didn't bring this 
one. But she's surely come to stay. 

(Brings in trunk, assisted by Jim.) 

Peleg (down r., as he sees Jim). You here again? 
By — 

Jim. Beg pardon, I'm sure. Always hate to in- 
terrupt family scenes — but the lady asked me to bring 
her here* 

(Enter Helene Dupont, up c.) 

Helene. So this is my future home ! Doesn't Mr. 
Smith keep servants? (Sees Peleg holding Maria.) 
Oh! 

(Jim and Hiram crowd together in doorway up C.) 

Peleg. Who are you? 

Helene (coming down l.). Just at present I am 
Helene Dupont. (Draws paper from, bosom of dress 
and waves it.) But soon I shall be Mrs. Peleg Smith. 
Tell Mr. Smith Miss Dupont wishes to see him, 

Peleg. Hiram, call Joe. 

Hiram. What for? 

Peleg. Don't ask questions, call him. 

(Enter Joe, r.) 



FATHER CHANGES HIS MIND I5 

' Joe (with a grin). Did I hear my name mentioned ? 
Peleg (to Helene). There's Mr, Smith. 

(Indicating Joe.) 

Helene (down l., looking from Peleg to Joe and 
then to Jim). Is it? 

Jim (in doorway, up c). Mr. Smith is the man 
with the lady in his arms. 

Peleg. Pll fix you for that, Jim Redlands. 

Helene (crossing r. to Peleg). Let go that 
woman and come with me. (Waves paper.) The 
minister is waiting to marry us. See, here is the 
Hcense. ^ 

Peleg (weakly), Where'd you get it ? 

Helene (l. of table). Why, at the town clerk's, 
of course. Come, I told the minister we'd be there 
right away. 

Peleg (horrified). You told the dominie that! 

Helene. To be sure. And I showed him the 
license, too. Who is that woman ? 

Maria (coming to, but clinging to Peleg). I am 
Mrs. Smith. 

Peleg (violently). She ain't! 

(Shakes her off and stands in front of table, c.) 
i Maria (shaking him). Well, Vm going to be! 

(Exit Jim, r.) 

Hiram (at rear door, jovially). You're some cut- 
up, Peleg ! See you at the church. And don't forget 
I've given you a wedding present. 

(Exit, up c.) 

Helene (l. of table, to Peleg). What does this 
person mean? (Indicating Maria.) 

Peleg (back of fable). She's crazy. 

Maria. Pm not, Pm an honest woman, widow o£ 
Bill Hopkins — and this is my second husband. 

Helene ( to Peleg) . Then you're already married ? 

Peleg. No— and I ain't going to be. 



l6 FATHER CHANGES HIS MIND 

Maria {shaking him). You are, you wretch, you 
are. You can't trifle v/ith the love of Maria Hopkins. 

Helene {to Peleg). Is she your wife or not? 

Peleg {loudly). No! 

Helene {seizing Peleg's arm). Then you're mine ! 
{To Maria.) Let him go. See, I have the marriage 
Hcense to marry him. The town clerk gave it to me. 
Have you one ? 

Maria. No, but I'll get one ! 

Helene. Then he's mine, because the town clerk 
gave me the license to marry him. Come, Peleg, dear. 
I'll save you from this designing woman. 

{Pulls Peleg hy the arm.) 

Maria. You hussy! {Clings to Peleg's neck.) 

{Enter Betty, l., with Polly as Helene and Maria 
pull Peleg to and fro.) 

Betty. What does this mean? {Rushes to Peleg, 
down c.) Who are these women, husband dear? 

(Polly comes down r.) 

Helene (l. of Peleg). Husband? 
Maria (r. of Peleg). Your husband? 
Betty. Precisely — and I'll thank you to take your 
hands off him. 

{Crowds in between Helene and Peleg.) 

Maria. But he is going to marry me. 

Helene {to Betty). Have you a license? 

Betty {in dismay). Why, no. 

Helene {gloatingly) , I have — so he's mine. 
{Waves license.) See, here It Is. Peleg's mine. I've 
beaten you both to him. 

Betty. You may have a license, but I was here 
first. So Peleg is mine. 

{Exit Polly, up c. Peleg manages to get to his feet.) 



FATHER CHANGES HIS MIND 



^7 



Maria {to Betty, across Peleg). Have you ever 
been married ? 

Betty. No. 

Maria {to Helene). Have you? 

Helene. Why, no, 

Maria {triumphantly turning to Peleg). There, 
Peleg, darling, yon hear them. What do those young 
girls know about managing a husband compared with 
me, who buried Bill Hopkins? 

Betty {qtikkly). Suppose we let dear Mr. Smith 
choose. 

Helene. Not much! I'm the only one who has 
been given a license to marry him. Come, Pekg, mj 
own. 

{Pulls him by arm, while Maria pulls the other way.} 

Betty {stoutly holding her place at Peleg's l.). 
Peleg, dear, why don't you assert yourself? Yom 
know I was the first. 

Peleg {yanking himself from Betty ami Maria), 
Clear out, the whole bunch of you. I don't want a 
wife and I won^t marry any woman on earth ! 
1 Helene. You won't? And me with the license? 

Peleg. No. 

Helene. Then you'll settle. Here IVe spent my 
good money coming to Moore's Corners and buying 
the license. 

{Enter Jim, Phil Brice and Polly, tip c, unnoticed 
by others. They comrc down r.) 

Peleg. Nobody asked you to. 

Helene. You did, Peleg Smith, by that advertise- 
ment. Either you marry tne^ or you give me ten thou- 
sand dollars. 

Maria. If you marry her, you'll give me ten thou- 
sand dollars, 

Betty. If you marry either of those designing 
women, you'll give me ten thousand dollars. I came 
first! 



1 8 FATHER CHANGES HIS MIND 

Peleg (sinking into chair r. of table). Some fool 
put an ad in the Clarion and these women answered it. 

Phil. What did it say? 

Peleg. That I wanted a wife. 

Maria (looking about kitchen}. And you do. I 
never saw such a mess. Oh, Peleg dear, these other 
women only want your money — I want you. 

Helene (waving license). Well, do we use this, 
or do I get the ten thousand ? 

Peleg. We don't use it and you don't get any 
money. I won't be married. 

Helene. Fve brought my trunk (pointing to it) 
and I stay— either as your wife or until I get the ten 
thousand. 

(Pulls chair over and sits beside Peleg.) 

Maria (determinedly). Same here. 

Pel£g (desperately). Land sakes! 

Jim. As I said before, what's the trouble, Mr. 
Smith? Can I help you? 

Peleg (in desperation). If you'll get rid of these 
women (indicating Betty, Maria and Helene) I'll 
give you anything you want. 

Jim. Polly? 

Peleg (faintly). Yes, Polly. 

Jim (to Helene, Betty and Maria). Then I 
shan't need you any more. Much obliged for helping 
me change father's mind. (Takes Polly in arms,) 

Peleg (rising and looking angrily from one to an- 
other). What do you mean, ''shan't need them any 
longer " ? 

Phil (coming down l.). There, there, Mr. Smith. 
Don't get excited. 

Helene (downL.). I want my ten thousand. 

Maria (down l. c.). So do I. 

Betty. And I. 

Peleg (faintly, to ]im). I thought you were going 
to get rid of them? 

Jim. And I get Polly if I do? 

Peleg (weakly). Yes. 



FATHER CHANGES HIS MIND 



19 



PiiiL (dozvHR.), These are friends of mine whom 
I persuaded to help Jim win Polly — and change your 
mind. 

Peleg. Then I don't have to marry any of them? 

Jim. Ask them. 

Helene. I wouldn't marry such an old grouch as 
you if you were the last man on earth. 

Betty (down c.). Nor I. 

Maria (downL.c). Nor I. 

Peleg (coming down r. between Polly and Jim 
and placing the hand of one in the hand of the other). 
Bless you, my children ! 

Betty. 
Jim. Maria. 
Peleg. Helene. 

Polly. 
Phil. 



curtain 



Unusually Good Entertainments 

Read One or More of These Before Deciding on 
Your Next Program 

GRADUATION BAY AT "WOOD HILI. SCHOOL. 

An Entertainment in Two Acts, by Ward Macauley. For six 
males and four females, with several minor parts. Time of 
playing, two hours. Modern costumes. Simple interior scenes; 
may be presented in a hall without scenery. The unusual com- 
'bination of a real ''entertainment," including music, recitations, 
etc., with an interesting love story. The graduation exercises 
include short speeches, recitations, songs, funny interruptions,^ 
and a comical speech by a country school trustee. Price, 15 
cents. 

EXAMINATION DAY AT WOOD HILL SCHOOL. 

An Entertainment in One Act, by Ward Macauley, Eight male 
and six female characters, with minor parts. Plays one hour. 
Scene, an easy interior, or may be given without scenery. Cos- 
tumes, modern. Miss Marks, the teacher, refuses to marry a 
trustee, who threatens to discharge her. The examination in- 
cludes recitations and songs, and brings out many funny answers 
to questions. At the close Robert Coleman, an old lover, claims 
the teacher. Very easy and very effective. Price, 15 cents. 

BACK TO THE COUNTRY STORE. A Rural Enter- 
tainment in Three Acts, by Ward Macauley. For four male 
and five female characters, with some supers. Time, two hours. 
Two scenes, both easy interiors. Can be played effectively with- 
out scenery. Costumes, modern. All the principal parts are 
sure hits. Quigley Higginbotham, known as *'Quig," a clerk in 
a country store, aspires to be a great author or singer and 
decides to try his fortunes in New York. The last scene is in 
Quig's home. He returns a failure but is offered a partnership 
in the country store. He pops the question in the midst of a 
surprise party given in his honor. Easy to do and very funny. 
Price, 15 cents. 

THE DISTRICT CONVENTION. A Farcical Sketch 
in One Act, by Frank Dumont. For eleven males and one 
female, or twelve males. Any number of other parts or super- 
numeraries may be added. Plays forty-five minutes. No special 
vtcenery is required, and the costumes and properties are all 
easy. The play shows an uproarious political nominating con- 
vention. The climax comes when a woman's rights cham-^ 
pion, captures the convention. There is a great chance to bur- 
lesque modern politics and to work in local gags. Every 
part will make a hit. Price, 15 cents. 

SI SLOCUM'S COUNTRY STORE. An Entertainment 
in One Act, by Frank Dumont. Eleven male and five female 
characters with supernumeraries. Several parts may be doubled. 
Plays one hour. Interior scene, or may be played without set 
scenery. Costumes, modern. The rehearsal for an entertain- 
ment in the village church gives plenty of opportunity for 
specialty work. A very jolly entertainment of the sort adapted 
to almost any place or occasion. Price, 15 cents. 

THE PENN PUBUSHING COMPANY 

PHILADELPHIA 



Unusually Good Entertainments 

Read One or More of These Before Deciding on 
Your Next Program 

A SUBPBISE FARTT AT BRINKLEY'S. An En- 
tertainment in One Scene, by Ward Macauley. Seven male and 
seven female characters. Interior scene, or may be given with- 
out scenery. Costumes, modern. Time, one hour. By the 
author of the popular successes, ^'Graduation Day at Wood HiU 
School," ''Back to the Country Store," etc. The villagers have 
planned a birthday surprise party for Mary Brinkley, recently.^ 
graduated from college. They all join in jolly games, songs, 
conundrums, etc., and Mary becomes engaged, which surprises 
the surprisers. The entertainment is a sure success. Price, 15 centSv 

JONES VS. JINKS. A Mock Trial in One Act, by 
Edward Mumford. Fifteen male and six female characters, with 
supernumeraries if desired. May be played all male. Many of the 
parts (members of the jury, etc.) are small. Scene, a simple 
interior ; may be played without scenery. Costumes, modern. 
Time of playing, one hour. This mock trial has many novel 
features, unusual characters and quick action. Nearly every 
character has a funny entrance and laughable lines. There are 
many rich parts, and fast fun throughout. Price, 15 cents. 

THE SIGHT-SEEING CAR. A Comedy Sketch in One 
A-ct, by Ernest M. Gould. For seven males, two females, or 
may be all male. Parts may be doubled, with quick changes, so 
that four persons may play the sketch. Time, forty-five minutes. 
Simple street scene. Costumes, modern. The superintendent 
of a sight-seeing automobile engages two men to run the 
machine. A Jew, a farmer, a fat lady and other humorous 
characters give them all kinds of trouble. This is a regular gat- 
ling-gun stream of rollicking repartee. Price, 15 cents. 

THE CASE OF SMYTHE VS. SMITH. An Original 

Mock Trial in One Act, by Frank Dumont. Eighteen males 
and two females, or may be all male. Plays about one hour. 
Scene, a county courtroom ; requires no scenery ; may be played 
in an ordinary hall. Costumes, modern. This entertainment is 
nearly perfect of its kind, and a sure success. It can be easily 
produced in any place or on any occasion, and provides almost 
^any number of good parts. Price, 15 cents. 

THE OLD MAIDS' ASSOCIATION. A Farcical Enter-i 
tainment in One Act, by Louise Latham Wilson. For thirteen* 
females and one male. The male part may be played by a 
female, and the number of characters increased to twenty or 
more. Time, forty minutes. The play requires neither scenery 
nor properties, and very little in the way of costumes. Can 
easily be prepared in one or two rehearsals. Price, 25 cents. 

BARGAIN BAT AT BI^OOMSTEIN'S. A Farcical 
Entertainment in One Act, by Edward Mumford. For five males 
and ten females, with supers. Interior scene. Costumes, mod- 
ern. Time, thirty minutes. The characters and the situations 
which arise from their endeavors to buy and sell make rapid-fire 
fun from start to finish. Price, 15 cents. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



Successful Plays for All Girls 

In Selecting Your Next Play Do Not Overlook This List 

YOUNG DOCTOR DEVINE. A Farce in Two Acts, 
by Mrs. E. J. H. Goodfellow. One of the most popular 
piays for girls. For nine female characters. Time in 
playing, thirty minutes. Scenery, ordinary interior. Mod- 
ern costumes. Girls in a boarding-school, learning that a 
young doctor is coming to vaccinate all the pupils, eagerly con- 
sult each other as to the manner of fascinating the physician. 
When the doctor appears upon the scene the pupils discover that 
the physician is a female practitioner. Price, 15 cents. 

SISTER MASONS. A Burlesque in One Act, by Frank 
DuMONT. For eleven females. Time, thirty minutes. Costumes, 
fantastic gowns, or dominoes. Scene, interior. A grand expose 
of Masonry. Some women profess to learn the secrets of a 
Masoni'c lodge by hearing their husbands talk in their sleep, 
and they institute a similar organization. Price, 15 cents. 

A COMMANDING POSITION. A Farcical Enter- 
tainment, by Amelia Sanford. For seven female char- 
acters and ten or more other ladies and children. Time, one 
hour. Costumes, modern. Scenes, easy interiors and one street 
scene. Mari^an Young gets tired living with her aunt. Miss 
Skinflint. She decides to "attain a commanding position." 
Marian tries hospital nursing, college settlement work and 
school teaching, but decides to go back to housework. Price, 15 
cents. 

HOW A WOMAN KEEPS A SECRET. A Comedy 
in One Act, by Frank Dumont. For ten female characters. 
Time, half an hour. Scene, an easy interior. Costumes, modern. 
Mabel Sweetly has just become engaged to Harold, but it's *^the 
deepest kind of a secret." Before announcing it they must win 
the approval of Harold's uncle, now in Europe, or lose a possible 
ten thousand a year. At a tea Mabel meets her dearest friend. 
Maude sees Mabel has a secret, she coaxes and Mabel tells her. 
But Maude lets out the secret in a few minutes to another 
friend and so the secret travels. Price, 15 cents. 

THE OXFORD AFFAIR. A Comedy in Three Acts, 
by Josephine H. Cobb and Jennie E. Paine. For eight female 
characters. Plays one hour and three-quarters. Scenes, inter- 
iors at a seaside hotel. Costumes, modern. The action of the 
play is located at a summer resort. Alice Graham, in order to 
chaperon herself, poses as a widow, and Miss Oxford first claims 
her as a sister-in-law, then denounces her. The onerous duties 
of Miss Oxford, who attempts to serve as chaperon to Miss 
Howe and Miss Ashton in the face of many obstacles, furnish 
an evening of rare enjoyment. Price 15 cents. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



The Power of 



LIBRftRY OF CONGRESS 

■Hi 




Expression and efficiency go han^ g g^g 939 851" 1 

The power of clear and forceful expression bnngs^conJ 
dcnce and poise at all times — in private gatherings, in public 
discussion, in society, in business. 

It is an invaluable asset to any man or woman. It can often 
be turned into money, but it is always a real joy. 

In learning to express thought, we learn to command 
thought itself, and thought is power. You can have this 
power if you will. 

Whoever has the power of clear expression is always sure 
of himself. 

The power of expression leads to: 

The ability to think "on your feet" 

Successful public speaking 

Effective recitals 

The mastery over other mindi 

Social prominence 

Business success 

Efficiency in any undertaking 

Are these things worth while? 

They are all successfully taught at The National School of 
Elocution and Oratory, which during many years has de- 
veloped this power in hundreds of men and women. 

A catalogue giving full information as to how any of these 
accomplishments may be attained will be sent free on requestc 

THE NATIONAL SCHOOL OF 
ELOCUTION AND ORATORY 

Parkway Building Philadelphia 



